摘要
本文研究了明代晚期画家盛茂烨、陈焕、李士达、沈宣,以及书家范允临、文震孟共同创作的《潇湘八景图册》。从考证画家和书家的生平交游、合作方式出发,围绕册页全面地梳理了画家和书家之间的交游圈、画面形式、题写书风以及明代后期文人职业画家的特点。得出三点结论:诗意画在明代后期的程式化倾向,文人职业画家的地域化倾向,以及学习吴门前贤后所形成的新画风的成因与影响。
This paper studies the Atlas of Eight Scenes of Xiaoxiang,which was created by painters Sheng Maoye,Chen Huan,Li Shida and Shen Xuan in the late Ming Dynasty,as well as calligrapher Fan Yunlin and Wen Zhenmeng.Based on the research of the life intercourse and cooperation between the painter and the calligrapher,this paper comprehensively sorts out the circle of intercourse between the painter and the calligrapher,the form of pictures,the style of writing on the inscription and the characteristics of the professional literati painters in the late Ming Dynasty.Three conclusions are drawn:the stylized tendency of poetic painting in the late Ming Dynasty,the regional tendency of professional literati painters,and the cause and influence of the new painting style formed after learning from the sages in front of Wu gate.
作者
施錡
Shi Qi(East China Normal University,Shanghai 200062)
出处
《新疆艺术学院学报》
2022年第1期1-11,共11页
Journal of Xinjiang Arts University
关键词
潇湘八景
文人职业画家
地域
交游
诗意画
吴门
Atlas of Eight Scenic Spotsin Xiaoxiang
Literati Professional Painter Region Intercourse
Poetic Painting Wu Meng
